• Paula Rego, The Family, 1988, acrylic on canvas-backed paper, 84 × 84". From “All Too Human: Bacon, Freud and a Century of Painting Life.”

    “All Too Human: Bacon, Freud and a Century of Painting Life”

    Tate Britain

    “John Minton committed suicide because ‘Matisse and Picasso had done everything there’s to be done in art.’ Unfortunately he had not heard of me,” boasted Indian artist F. N. Souza. At Tate Britain, curators Elena Crippa and Laura Castagnini corroborated Souza’s point—sort of. Spanning more than a hundred years, and featuring slightly fewer than a hundred paintings, their exhibition proclaimed the so-called School of London to be the natural heir to the figurative legacy of the “School of Paris.” Although Souza himself was not presented as London’s answer to Picasso—the show’s title

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  • Julie Becker, Marking Territory (detail), 2004, mixed media on paper, 11 × 17".

    Julie Becker

    ICA - Institute of Contemporary Arts, London

    DAYDREAMS TRANSFORMING into nightmares, LSD, Danny from The Shining (1980), and feelings of scary and sublime horror are just a few of the mind-bending forces at play in Julie Becker’s art. “I can’t make sense of any of this,” a Hollywood psychic tells the artist in Conversations with Voxx, 1995, a video shown within the sprawling installation Researchers, Residents, A Place to Rest, 1993–96. London’s Institute of Contemporary Arts displayed this massive work alongside nearly forty of Becker’s best known pieces in the careful survey “I must create a Master Piece to pay the Rent.” The psychic’s

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  • Nicolás Lamas, Untitled (Becoming Animal), 2018, used domestic refrigerator, vintage fur coat, 19 1⁄4 × 21 5⁄8 × 33 1⁄2".

    Petra Ferlancová and Nicolás Lamas


    Taking its title from a phrase coined by Gilles Deleuze and Félix Guattari in 1987, the exhibition “Becoming Animal” comprised two solo presentations by Petra Feriancová and Nicolás Lamas. Deleuze and Guattari’s idea saw the self as fluid and continually changing under the influence of relationships with fellow living beings, including animals; it countered a humanist perspective that was occasionally used to justify a colonial, aggressive approach to nature.

    Occupying a room and the front window of the gallery, Feriancová’s interpretation of “becoming animal” focused on the zoological terms

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